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ルイヴィトン 財布 In praise of Steve Winwood7504

ルイヴィトン 財布      
However, prick his interest and get him on music and he won't
stop talking. He is also one of those rare musicians who genuinely
believe that they are a musician rather than an entertainer, and
listening to him discuss his passion is enthralling.
"Musicians and music lovers are completely different," he says,
sitting upright in his seat.  "I mean I don't really listen to
music all the time, whereas my wife is a music lover, and has music
on whilst she's cooking in the kitchen. I can't possibly do that. I
even have trouble listening to music when I'm driving because I
tend to make wrong turns when I'm not concentrating. Like a lot of
musicians I'm not really a music lover, and I don't listen to music
for fun. Consequently it's very difficult for me to be objective,
and to see how I fit in with anyone else - with a U2 or a Bob
Dylan. I suppose I've always been niche, unusual, out of the
ordinary. Listening to music for me is like homework. Music will
give me enjoyment, but as soon as it's giving me that enjoyment I
want to analyse it, and then it becomes work. Why does it sound
like that?  How?��.  then I dissect it.
He says his career has been based more on what he wants to play
rather than what his audience might want to listen to. When most
musicians say this they can appear disingenuous, but with Winwood
you believe him. Our relationship with music is often more personal
than we might think, as are our motivations for listening to it.
"Music was my accomplice," said Michael Phelps, after winning eight
gold medals at the Beijing Olympics, a word that infers collusion
as well as emotional support. With Winwood you get the sense that
music might determine nearly everything he does, while his
relationship with it seems strangely co-dependent. You have to
remember that this is a man who enjoys session work like no other,
and who over the years has recorded with Jimi Hendrix, George
Harrison, the Who, Marianne Faithfull, Joe Cocker, Etta James,
Stomu Yamashta, David Gilmour, Billy Joel, Lou Reed, Talk Talk,
Toots & the Maytals, John Martyn,
Christina Aguilera and numerous others.
These days the founder member of British rock's aristocracy
regularly tours the world in style. His voice hasn't changed in 40
years, and neither have his aspirations or his partners in crime.
He stills plays gigs with Eric Clapton, and regularly plays
double-headers where they effortlessly breeze through "Presence of
the Lord" and "Can't Find My Way Home", as well as a few other
Blind Faith classics.
As for the box set, he has been tinkering with the track listing
for months, and has remastered, remixed and tweaked a few things
here and there. Because much of his music was recorded for vinyl, a
lot of the sound was originally modified and compressed in order to
fit, and because of the limited bandwidth, the music had less body.
This has now been altered. "I went to see my 17-year-old son play
in the school orchestra recently, and they were playing Vaughan
Williams' London Symphony, and in the programme it said
that although he wrote it in 1914, in 1933 he was still tinkering
with it. I thought to myself, if it's good enough for Vaughan
Williams, then, who's to say it's not good enough for me."
Steve Winwood is not the sort of man who dwells too much on the
past. There have been a few contractual issues along the way, but
contractual issues and the music industry go hand in hand. Does he
regret anything? "Not really. I possibly smoked a bit too much weed
in the early days, but then that did lead to some interesting
records, so I can't even regret that. However I was in a situation
once where we had just spent a day recording, and then sat around
with the band afterwards talking about the session. We ended up
having an argument because they all thought the drums were too
loud, and I didn't. Everyone had gone home apart from me when the
cleaning lady came in. I was still listening to the song, and she
said, 'That sounds good�� but the drums are too loud.' That remark
kept me up all night."
You see, with Steve Winwood, it's all about the music. Always
was, always will be.
Revolutions: The Very Best Of Steve Winwood (Island Recrods;
��27.99) is out now, with accompanying sleevenotes by Dylan
Jones. Listen to the
boxset in full and for free on GQ.com
See author
Rob Ryan's piece on the role of sleevenotes in the digital
                                    Dylan Jones
               ルイヴィトン バッグ                     
Dylan Jones is the editor of British GQ. Before this he was the Editor-At-Large of the Sunday Times, and before that an editor at The Observer, Arena, The Face and i-D. He has written and edited various books, including an international best-selling biography of Jim Morrison, Dark Star; iPod, Therefore I Am, a personal history of Apple; two anthologies of journalism - Sex, Power & Travel, and Meaty Beaty Big & Bouncy; and Cameron on Cameron �C a series of interviews with the Conservative leader.
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